Global Journal of Human Social Science, H: Interdisciplinary, Volume 22 Issue 7

The Symbol of the Griffin in the Primitive-Religious Views of the People of Central Asia Elyor Alimkulov Abstract- In this research, authors focused on learning primitive-religious views of the population in the Central Asia. Authors found that griffin belonging to religious-mystical imaginations; cults and early religious views of ancient times in the territory of Uzbekistan have historically experienced very large stages of development. Their images have changed in different ways and have improved in terms of form and content. Griffin symbol is widespread not only in the territory of Uzbekistan. Moreover, art of the ancient world: architecture, painting, sculpture, applied art are spread out. I ntroduction ll nations have the image of a lion, and views related to it are interpreted differently. In particular, it is clear to many that the image of lion-griffins has existed in our country since ancient times. According to symbolic tradition, griffins combined the dominion over two layers of the universe. The combination of two main “sun” animals indicates that the creature is sensitive. Researchers have pointed out that the totem symbols of the creation of the world are also connected with other beings. As an example, images of eagle- headed, horse-bodied and winged griffins found on ceramic water bottles and rhytons (drinking vessels with animal heads) found in Khorezm of the IV-III centuries BC [1]. The images of Khorezm Called fortress in the cistern dating back to the 4th century, found in the monument, are recognized as the oldest totemistic symbols of the theories about the creation of the world, not only in Central Asia, but also in the whole world. Scientists tried to restore this image to its original state. Above the picture is a winged animal, a horse- griffin, and below it is a picture of a goose. In primitive religious beliefs, the fantastic horse-griffin symbol is depicted next to the Tree of Life, associated with the elements of Fire and the Sun. Agni, the god of fire, is represented in the form of a giant bird surrounded by sparks of fire. A picture of a water tank found in the Forbidden Castle shows the fire-griffon re-creating existence and tearing apart the spatial essence in order to completely transform it. If you look closely at the picture, the goose is fantastically drawn, with a male head on the back and front of the goose, and a female head on the chest. The attacking gryphon separates them from each other. In this way, the sky and the earth are separated, and an intermediate space appears in it. According to scientists' hypothesis, the head depicted on the goose is the symbol of Father Heaven, and the picture below is the symbol of Mother Earth [2]. Researchers note that Buddha was born in one of his reincarnations as a goose, and in the Rigveda, the sacred book of Hinduism, the goose is recognized as a symbol of the Sun, light and fire, and is depicted holding all the gods in its bosom. Such symbols are very popular in the field of world art studies, and these symbols are known as “grills”. In his research, Yu. Rapoport emphasizes the existence of such symbols in our country and recognizes that the silver plate found in the Bartim region of Bashkortostan belongs to Khorezm. The scientist compares the image of a mystical bird on this object with the image on a water container found in Koykyiryrkala. It is not difficult to understand that the homeland of such cosmogonic myths is the territory of Uzbekistan. Images found in this way are also found in many other lines [3]. According to Yu. Rapoport, the “mystical bird of Khorezm” is recognized as a cosmogonic symbol in this painting. According to the Avesto, God’s divine laws were revealed to the created beings on earth through the goose Karshipt, who was always in contact with Zarathustra. King Yima narrated the Avesta texts to the people through the language of birds. It was found that the divine bird was first embodied in the Avesta in the form of the Karshipt goose, and this symbol is evidence that it spread widely to different countries of the world. Archeological fossils similar to Khorezm’s magnificent horse-griffon pecking a goose were found in the image of the creation of life from the temple of Oks of Amudarya in the Koykiryankala reservoir. According to the researchers’ theory, the Persians and Greeks got acquainted with the griffin symbol during their trips to Bactria, and it was introduced into Greek sources based on Bactrian legends by Greek historians. A part of the legend about the Bactrian gryphons has survived to this day in Ctesius' work “Indika” of the 5th-4th centuries BC. According to the theory of the Russian historian- orientalist I. Pyankov, who studied the history of Central Asia, Ctesius summarized and re-edited his story with the information of Herodotus and the narratives heard from the mouths of the Bactrians. Over the years, only information related to some features of this artistic image has been preserved. A © 2022 Global Journals Volume XXII Issue VII Version I 49 ( ) Global Journal of Human Social Science - Year 2022 H Author: Ph.D Student, International Islamic Academy of Uzbekistan, Tashkent, Uzbekistan. e-mail: author.uzb@mail.ru